Optical sizing

- [Voiceover] To conclude the chapter on…small but important details,…I want to make a point about optical sizing.…When you're working display type,…I'm not talking about body text here…but just really large type,…and you have punctuation in it or some special characters,…that punctuation, those special characters,…they may just look a bit too big.…I think that's the case in the top example where…no adjustment has been made.…And in the bottom example,…I've reduced the size of the quote marks and the comma.…

Obviously, they wouldn't really be in color.…I've just put them in color to highlight them.…So let me see if I can do that again.…I'll highlight that.…I'll make that 10 point smaller,…and then I'll shift the baseline up.…In this case by eight points.…So I will just reduce the size…to whatever seems appropriate.…It really is a case of just doing this by eye.…

Obviously, you need to make sure that…if you are pairing quotation marks…that they are the same size…and have the same baseline shift adjustment.…So I think it's definitely worth taking the time to do that.…

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Released

6/17/2016

InDesign Typography explores the numerous type options, type-related features, and type-specific preferences of Adobe InDesign. Using practical, real-world examples, instructor and designer Nigel French explains the purpose of each feature and describes the conventions for how and when to use it. Part 1 focuses on "micro typography" or the appearance of individual letterforms. Nigel dissects the anatomy of a typeface and defines the terminology used to describe type in graphic design. He moves into choosing a typeface, scaling type, and adjusting spacing via InDesign's leading and kerning controls. The course closes with a look at glyphs, special characters, and OpenType features, including ligatures and fractions.